Global Perspectives on Landscapes of Warfare


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Copublished with Editorial de la Universidad del Magdalena Global Perspectives on Landscapes of Warfare examines the effects of conflict on landscapes and the ways landscapes have shaped social and political boundaries over time. Contributors from different archaeological traditions introduce a variety of methodologies and theories to understand and explain how territories and geographies in antiquity were modified in response to threat. Drawing from eleven case studies from periods ranging over eight thousand years in the Americas, Asia, and Europe, contributors consider how social groups moved and concentrated residences, built infrastructure, invested resources, created alliances and negotiated with human and nonhuman entities for aid, formed and reformed borders, and memorialized sites and territories. Because landscapes of warfare deal with built environments, chapters are presented with rich graphic documentation—detailed maps, site plans, and artifacts—to support the analysis and interpretations. Territories that have been appropriated and transformed by communities at war illustrate how built landscapes not only reflect immediate events but also influence subsequent generations. With a diverse array of case studies and an explicit focus on landscapes, Global Perspectives on Landscapes of Warfare will be of great interest to students and scholars of conflict archaeology and the anthropology and history of violence across the globe. Contributors: Elizabeth Arkush, Viktor A. Borzunov, Igor V. Chechushkov, Tiffany Earley-Spadoni, Nam C. Kim, Lauren Kohut, Takehiko Matsugi, Kerry Nichols, Russell S. Quick, Lizzie Scholtus, James T. Williams




Cuban Studies 38


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Cuban Studies 38 examines topics that include: liberalism emanating from Havana in the early 1800s; Jose Martí's theory of psychocoloniality; the relationship between sugar planters, insurgents, and the Spanish military during the revolution; new aesthetics in Cuban cinema, the “recovery” of poet José Angel Buesa, and the meaning of Elián Gonzales in the context of life in Miami.





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South American Contributions to World Archaeology


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This book focuses on South American archaeology and its contributions to the broader global archaeological discussion in theory, methods and new interpretations of the archaeological record. These include discussions on human peopling and colonization of the continent, domestication of plants and emergence of complex societies. This volume covers a wide variety of sub-disciplines in archaeology, including archaeobotany, zooarchaeology, molecular archaeology, bioarchaeology, geoarchaeology. The chapters span from the pre-Columbian to contemporaneous indigenous societies for all the main geographical and ecological zones of South America. The book discusses how particular cases of South American archaeology have contributed to the understanding of a global and basic issue: human relations with their environments and landscapes during the past. The authors focus on the latest results produced by multidisciplinary studies carried out at archaeological sites in several areas of South America ranging from studies of early hunter-gatherers through the historic period. This work would be of interest to researchers in archaeology and Latin American studies.





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Dove Va la Storia Economica?


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LTC.


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Hearings


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Conceptualism in Latin American Art


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Conceptualism played a different role in Latin American art during the 1960s and 1970s than in Europe and the United States, where conceptualist artists predominantly sought to challenge the primacy of the art object and art institutions, as well as the commercialization of art. Latin American artists turned to conceptualism as a vehicle for radically questioning the very nature of art itself, as well as art's role in responding to societal needs and crises in conjunction with politics, poetry, and pedagogy. Because of this distinctive agenda, Latin American conceptualism must be viewed and understood in its own right, not as a derivative of Euroamerican models. In this book, one of Latin America's foremost conceptualist artists, Luis Camnitzer, offers a firsthand account of conceptualism in Latin American art. Placing the evolution of conceptualism within the history Latin America, he explores conceptualism as a strategy, rather than a style, in Latin American culture. He shows how the roots of conceptualism reach back to the early nineteenth century in the work of Símon Rodríguez, Símon Bolívar's tutor. Camnitzer then follows conceptualism to the point where art crossed into politics, as with the Argentinian group Tucumán arde in 1968, and where politics crossed into art, as with the Tupamaro movement in Uruguay during the 1960s and early 1970s. Camnitzer concludes by investigating how, after 1970, conceptualist manifestations returned to the fold of more conventional art and describes some of the consequences that followed when art evolved from being a political tool to become what is known as "political art."